Upgrade, yes. But don’t toss your ‘Star Trek Collector’s Editions’

With the overwhelming success of the new “Star Trek” reboot, Paramount is going to take the opportunity to get as much money as they can out of the process. You can’t blame them; we would all do it if we could. Of course, we don’t have control of a billion-dollar franchise.

It was a given that the Star Trek films would be rereleased on BD; this was one of my requests when I wrote my first column accepting the format. But I figured they would incorporate all of the stuff in the “Collector’s Editions” instead of going back to the original theatrical releases. So I was surprised when I read on the back of the packaging that all of the films were the original theatrical releases.

I anticipate that the extended editions for the films will be eventually reissued on BD, but I’m keeping what I have for the time being. That said, here’s a breakdown of what’s new on the BD release.

Note: I’m not going to summarize the plots of the films; that will take too much time and you can read them elsewhere on the internet, anyway. I’d recommend startrek.com for starters. I’ve linked to the film page for each feature below. The images are courtesy of Paramount and StarTrek.com.

Each film has a “Library Computer” function, in which a listing of some character, action or technical term is defined. This replaces the pop-up commentary by Michael Okuda that appeared on the Collector’s Editions. The entries are centric to the “Star Trek” universe, meaning there’s no background skinny on production or other events.

What’s different is that the entries appear on the right third of the screen (obscuring any action there) and the user must select the term with his/her remote, click “Enter” and a pop-up appears at the bottom quarter of the screen. This function must be accessed on the “Extras” menu; it cannot be selected through the “Subtitle” or other button functions. It does exempt the subtitle option, so you can’t have both at the same time. Sometimes, the entries come too fast to keep up with while the film is playing; however, you can pause the film and then go through the entries.

Each film also has what they call the “Starfleet Academy SCISEC Brief,” where a Star Fleet Academy teacher (Sarah Backhouse) gives a background briefing on the events that happened in the film. For the Trekkers, this is the only place you’ll see “Next Generation” type graphics, ships and uniforms.

All of the discs are BD-Live enabled, which allows the user to connect to an online quiz panel about the film. Trekkers who register can create their own quizzes. Your BD player has to be connected to the Internet to make this work, which pretty much means you need a Playstation 3 to watch it. The quizzes are tougher than you’d think.

Each film has been digitally remastered in high definition, and remixed in Dolby 7.1 TrueHD. The visual difference is very noticeable; starship sequences are vibrantly colorful and detailed; the previous versions look blurred by comparison. Graphics on computer screens and signage are also noticeably sharper and easier to read.

Sometimes derisively called “The Motionless Picture,” the first Star Trek film had its roots in a planned revival of the Original Series called “Star Trek: Phase II.” Paramount had aspirations of beginning a fourth television network to rival ABC, CBS and NBC; and it planned to use Star Trek as its major offering. The plans were scrapped due to many factors, but Star Trek was sent into production as a feature film because of the success of another science fiction film, the original “Star Wars” (now known as “Episode IV: A New Hope”) in 1977.

The first difference of course is the BD picture. The 2001 Director’s Edition, supervised by Robert Wise, cleaned up the film considerably, but BD spruces it up even more. Since this is not the Director’s Edition, the commentary from Wise, special effects wizards Douglas Trumbull and John Dysktra, music composer Jerry Goldsmith and Collins (“Decker”) is not here. It’s been replaced by a commentary by Michael and Denise Okuda (famous for creating the visuals for the Trek films and the “Next Generation” series), Judith and Garfield-Reeves Stevens (who have written several Trek novels), and writer Daren Dochterman. Curiously, none of them ever seem get around to explaining why the decision was made to show the original theatrical release, even though they reference the Director’s Edition several times.

Also curious is that the box says the film is “not rated,” but it’s listed as “G” in the trailers for the film. The BD version is 131 minutes; the Director’s Edition is 136 and has remastered special effects, most noticeable on the Planet Vulcan scenes.

Missing also is the three retrospective documentaries: “Phase II: The Lost Enterprise,” “A Bold New Enterprise,” and “Redirecting the Future.” They have been replaced by “The Longest Trek: Writing The Motion Picture,” which tells of the major script rewrites that the film went through from feature film to TV script to feature film, then of rewrites while the film was being made. Too many fingers in the pot probably explains why the film seems so drawn out and boring, even to die-hard Trekkers.

The “Special Star Trek Reunion” featurette brings together five Star Trek fans who were asked to serve as extras on the Recreation Deck scene. Among them are original fans Bjo Trimble and Jo Ann Nolan, who helped orchestrate the “Save Star Trek” movement in the 196os; Fred Bronson, who worked directly for series creator Gene Roddenberry; Christopher Doohan, who was Jimmy Doohan’s (Scotty) son; and series writer David Gerrold.

The “Starfleet Academy” briefing featurette muses on what happened to the Voyager 6 probe to transform it into V’ger. It even speculates that V’ger may have been transported to the Borg homeworld, where it was given its massive vehicle to get back home. Surprising that the Borg didn’t listen to the gold record that went along with every Voyager probe; they would have known about Earth a lot sooner.

There is a rather annoying tendency for Hollywood to take old TV shows and rework them into (mostly bad) feature films. In the commentary, Michael Okuda notes that Star Trek was the first TV show to be turned into a feature film. Chalk it up as another pioneering moment for Trek.

The second Trek film is generally regarded as the best of the entire series (the newest J.J. Abrams reboot notwithstanding). Once again, this is not the “Director’s Edition” that was released in 2002; this is the original theatrical release, which is four minutes shorter.

There are two commentaries: one by director Nicholas Meyer by himself, and the other by Meyer and “Star Trek: Enterprise” co-executive Producer and writer Manny Coto. The Meyer commentary is the same as the 2002 release, with (I assume) some edits for the differences in the two versions.

New featurettes include an interview with music composer James Horner; people who collect Star Trek movie props; a tribute to the late Ricardo Montalban (Khan), and the Starfleet Academy briefing on the mystery behind the destruction of Ceti Alpha VI.

Returning on this disc (not in HD) are the production featurettes “The Captain’s Log;” “Designing Khan;” interviews with Kelly, Shatner, Nimoy and Montalban; “The Visual Effects.” Also returning is the featurette on writing Star Trek novels, storyboard archives and the trailer.

Nitpicker’s question: how did they mistake Ceti Alpha V for Ceti Alpha VI? Shouldn’t a tactical scan of the system show only five planets in orbit, not six? And the one that every TOS Trekker questions; how did Khan know Chekov when the original episode “Space Seed” was part of Season 1; and Chekov didn’t appear on the Enterprise until Season 2? (Koenig gives a humorous explanation he likes to tell at conventions for that on his featurette on the disc for “Star Trek IV: The Voyage Home.) And no one on the commentary tracks or special effects features even mentions that the groundbreaking Genesis Planet animation sequence was created by Pixar; the same folks that spun off on their own from George Lucas’ Industrial Light & Magic (ILM) special effects house to create the world’s first computer-animated feature, “Toy Story,” and nine other CGI films to date.

With the possible resurrection of Spock hinted at in the closing moments of the previous film (something that “Khan” director Meyer refused to have anything to do with, having someone else shoot the scenes), plus the high ratings and theatrical gross for “Khan,” a third sequel was called for. With Meyer turning down the chance to direct, Nimoy moved into the chair and did reasonably well; turning out the best of the odd-numbered films.

This isn’t a “Director’s Edition,” so the commentary by Nimoy, writer/producer Harve Bennett, director of photography Charles Correll and Robin Curtis (Saavik, taking over the role from Kirstie Alley) remains. New is a commentary from “Star Trek: The Next Generation” writers Ronald D. Moore and Michael Taylor. (Yes, Moore is the same guy that rebooted “Battlestar Galactica.”)

The most interesting new featurette is an interview with four special effects wizards from ILM on shooting the starship models for the Star Trek film series; there was no CGI to animate starships back then. “Spock: The Early Years” is an interview with Stephen Manley, who played the 17-year-old Spock on the Genesis Planet. He brags about getting to “pon farr” with Saavik. A visit to Seattle’s Science Fiction Museum rounds out the new featurettes. The Starfleet Academy briefing covers the Vulcan Katra Transfer.

Returning content (not HD) includes the production featurettes: “Space Docks and Birds of Prey,” “Speaking Klingon,” “Klingon and Vulcan Costumes.” The mini-doc “Terraforming and the Prime Directive” is also included, along with storyboards, photo gallery and trailer.

Nitpicker’s comments: The bridge of the Klingon Bird of Prey underwent an extremely radical transformation between this film and the next in the series, “The Voyage Home.” In fact, it’s disturbing. Didn’t anyone save the set from “The Motion Picture?” And while I liked Christopher Lloyd’s performance, I still kept seeing the Reverend Jim from “Taxi” instead of a ruthless Klingon commander. And watching the trailer reminded me of something; when the film was released in 1983, it was intended that the destruction of the Enterprise be kept secret until the premiere. However, the trailer and TV commercials all showed the scene, so the fans knew the Enterprise was going to bite the big one. If the Internet had been around at that point, there would have been howls of protest from here to the Orion nebula.

Most people remember this one as “the one with the whales.” It was also the most appreciated Star Trek film, appreciated for both its ecological message and its comedic tone. It was also the first Trek film to be shown in the Soviet Union, where McCoy’s line at the end: “The bureaucratic mentality is the only constant in the universe. We’ll get a freighter,” got a bigger laugh there than anywhere else in the world.

The original commentary with Shatner and Nimoy is here. New is a “fan’s commentary” by writers (the new “Star Trek” film) Roberto Orci and Alex Kurtzman. I didn’t listen to the entire commentary, but since this was being released as a compliment to the new film, they don’t give any real insights into the new incarnation of the series; just commenting on the old.

The featurette, “The Three-Picture Saga,” has some rather interesting insights into the production of the “II-III-IV trilogy.” Walter Koenig says that he reviewed the script for “Khan” pre-production and chose to “keep his mouth shut” about the fact that Khan never met Chekov, and that no one noticed until filming had already begun. Harve Bennett, the producer, takes credit for starting the sequel phenomenon. Meyer and Nimoy fought Paramount’s top brass, who wanted the sounds of the probe in “Voyage Home” translated for the audience. And most startling for all for Trekkers (save those who had already speculated on it) “Voyage Home” writers Steve Meerson and Peter Krikes said that the reason Saavik was left on Vulcan with Amanda Grayson (Spock’s mother, played by Jane Wyatt) instead of returning to Earth with the crew is that she was carrying Spock’s baby.

Koenig gets to talk about playing the Russian navigator in “Pavel Chekov’s Screen Moments.” He states that he had the most fun on “Voyage Home” because he got to do meaty scenes with humor. Most of his Star Trek career had him sitting at the navigator’s station, flying a console. “Star Trek: For A Cause” talks about the environmental and anti-whaling message of “Voyage Home,” with interviews from members of Greenpeace. It was surprising to find out that most of the world didn’t really know about modern whaling until the release of the film. The Starfleet Academy briefing covers the Whale Probe.

Returning are all of the second disc featurettes from the 2003 Special Edition: four Star Trek Universe, four Production, two Visual Effects, tributes to Roddenberry and Mark Lenard (Sarek), storyboards, photo gallery, interviews with Shatner, Nimoy and Kelley, and the trailer.

I first saw the film at the Kadena Air Base theater on Okinawa, Japan. The theater was packed to overflowing; most military personnel are Trekkers. We all laughed just as hard as the Russians did at the “bureaucratic mentality” line. But the best moment came before the film even started: a simple title card, dedicating the film to the astronauts aboard the Challenger, who had died in January 1986. The cheering and applause was a true patriotic moment.

I have a confession to make. I bought the Special Edition of this movie, because I wanted it in my collection to complete the set. I’ve had it for six years and it’s still in the plastic wrap. I have not been able to bring myself to watch this movie again. I couldn’t even watch the extras six years ago, and that’s the reason I sold my initial (no extras) copy to a fellow Trekker when I bought this one. To me, it’s proof positive that Shatner should never be allowed to direct again.

The script is laughable enough. Spock’s half-brother Sybok (Laurence Luckenbill) hijacks the Enterprise-A via a mood-ring mind-meld? They go to the center of the galaxy, looking for God? Uhura (Nichelle Nichols) does a naked fan dance and is romancing Scotty (James Doohan)? A renegade Klingon captain (Todd Bryant) wants to shoot a real Federation ship. Why-in-the-hell did he miss?

Returning is the commentary from Shatner and his daughter Liz (who wrote a making-of book about the film). New commentary is provided by the same crew that did the new commentary for “The Motion Picture.” They make some apologies for how bad this film is (a writer’s strike, small budget, “suggestions” from the Paramount brass), but not enough.

New featurettes include a tribute to NASA and all the technical help they’ve given Star Trek in return for having inspired all of their astronauts, engineers and other workers. James Doohan’s 2004 Hollywood Walk of Fame star ceremony from 2004 is included. The Starfleet Academy briefing is on Nimbus III, the planet at the beginning of the film, the “Planet of Galactic Peace.” Storyboards are also new to the disc.

Returning are five Star Trek Universe featurettes, six production featurettes, deleted scenes, trailers and TV spots.

If there’s anything good to be said about the film, it’s that it at least gave the four other cast members (Doohan, Koenig, Nichols and George Takei) a lot more screen time and acting than they got in the other films of the series. And it does have some genuinely funny moments, as long as they are taken in context.

However, this will always be the unloved film in the Star Trek series. Unfortunately, it can’t be washed out of the canon, like the Animated Series was. This is the film equivalent of “Spock’s Brain.”

After the debacle that was “Final Frontier,” I didn’t think that there would be a sixth Star Trek film. There was also the issue that “Star Trek: The Next Generation” was doing extremely well on television without having to be tied to a network; and “Star Trek: Deep Space Nine” was gearing up for its premiere in 1992.

So I was quite surprised when “The Undiscovered Country” was announced. But watching the opening credits, I knew that it would be good. They had brought back Nicholas Meyer (“Khan”) as director and Nimoy had story and executive producer credits.

The story was extremely current, if you substitute the Federation for the United States and the Klingon Empire for the Russians. The Klingons had their energy planet blow up (does “Praxis” translate as “Chernobyl” in Klingonese?) and now they could no longer afford the Cold War that had separated the two powers for decades.

In the original documentary “The Perils of Peacemaking,” both Nimoy and Meyer claim credit for the line that Spock tells Kirk: “Only Nixon could go to China.” It was a reference to the fact that only the hard-line anti-communist Nixon could have gone to China and negotiated without it being seen at home as ideological pandering. A liberal President such as Kennedy or Johnson could never have done it.

Even though both the 2004 Special Collector’s Edition and the BD edition list the film at 113 minutes, they are not the same film. The Collector’s Edition had several enhanced or added scenes, most notably one where Col. West (Rene Auberjonois, who would go on to play Odo on “Deep Space Nine”) details a commando raid to rescue Kirk and McCoy. Unfortunately, the deleted scenes are not included as separate items on the disc.

The original audio commentary by Meyer and screenwriter Denny Martin Flynn is included; the new commentary by Star Trek novel author Larry Nemecek and “Deep Space Nine” producer Ira Steven Behr is irritating after a while, because they don’t really seem to be discussing the film. Perhaps they do later, but I gave up on it after about 15 minutes.

New featurettes: “Tom Morga: Alien Stuntman” is an interview with the stuntman who has played more Star Trek aliens than anyone else; from the Klingon first officer in “Motion Picture” to a Xindi in “Star Trek: Enterprise.” “To Be Or Not To Be: Klingons and Shakespeare” is a visit to a production of Shakespeare’s Hamlet performed entirely in Klingon, including makeup. Hamlet’s soliloquy and the scene where he encounters the gravedigger are included, along with the English translation. There are a few “Trek” changes, though: Hamlet carries a battleh (Klingon double bladed sword) and “slings and arrows” is rewritten as “torpedoes and phasers.” The Starfleet Academy briefing is on Praxis and the subsequent events.

In the closing credits, all of the primary cast members are listed with their signatures. Perhaps this was a nod to their function at conventions, but it also served as a signature moment that the torch had been passed; this would be their final film adventure. Shatner, Doohan and Koenig would appear in 1994’s “Star Trek: Generations,” but the rest of the cast bowed out of the films until (SPOILER ALERT) Nimoy appeared as Spock Prime in the new “Star Trek” film.

Star Trek: The Captain’s Summit

70 minutes, not rated

Shatner and Nimoy, Patrick Stewart (Capt. Jean Luc Picard), Jonathan Frakes (Commander William Riker) and Whoopi Goldberg (Guinan) of “Star Trek: The Next Generation” get together in this interesting roundtable discussion. Goldberg serves as the interviewer, but she mostly just lets the guys talk.

The late film critic Gene Siskel once had a yardstick for determining the worth of a film. He asked, “Is this film more interesting than a documentary of the same actors having lunch?” In this discussion, no one is eating although they do sip at water. And Stewart looks as if he’s got piles; he keeps shifting in his seat. But the discussion is lively and very funny at times.

I won’t give away everything, but some of the highlights:

Shatner admitted to Stewart (and the world) that he had never watched an entire episode of “Next Generation.”

Goldberg has never been invited to speak at a Star Trek convention.

Stewart was a confessed “pain in the ass” during the early seasons of “Next Generation.”

It’s probably not something you’ll watch more than once or twice, but it’s still a nice bookend to the films, and a welcome break for “Next Generation” fans who have reached overload with all of the Original Series information.

It’s become an accepted truism that the even-numbered Star Trek films were better than the odd ones. Some might disagree when it comes to #10, “Star Trek: Nemesis” and the new “Star Trek” reboot in theaters now. This set has what is considered to be the best “Trek” film: “Khan;” and the worst, “Final Frontier.” It’s still worth buying this six-film set over the “Trilogy” set also for sale, featuring “Khan,” “Spock” and “Voyage.”

Yes, the retail price is $140: but you can get it for half that at Amazon.com, and about $90 at retail stores. But there are more reasons than that to get this set. Biggest is the BD transfer. Second is the new extras. Third is the “Captain’s Summit.”

But biggest of all: it’s on my shelf for the same reason that “Final Frontier” is there even though it’s still in the plastic. It’s “Star Trek.” For me, and millions of other Trekkers, that’s enough.